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THE HOLIDAY XVID WIDGETZONE CO UK torrent
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With a dreamy, festive setting and underlying message of love to all men and women - especially if they're single and unspeakably attractive - The Holiday is a corny comedy that will appeal to hopeless romantics. In sunny California we meet Amanda (Cameron Diaz), who creates movie trailers and is fed up with her cheating boyfriend Ethan (Edward Burns). Across the Atlantic in snow-laden London, Iris (Kate Winslet), who writes the wedding column for The Daily Telegraph, is in a similar position with roguish beau Jasper (Rufus Sewell).
Desperate for a break from their respective heartaches, the two women agree a temporary house-swap for Christmas. Amanda and Iris are delighted to escape from their old lives, only to find that love is quite literally on their new doorsteps: for the American visitor, it's Iris's brother Graham (Jude Law), and for the Brit abroad, a film composer called Miles (Jack Black). The two couples get on swimmingly but their happiness is threatened by Amanda and Iris' inevitable return to their old lives.
Meyers's film is completely divorced from reality. Iris's job on The Daily Telegraph must be extremely well paid for her to afford the picture postcard Rose Hill Cottage, nestled in the one nook of the English countryside with a perpetual dusting of snow.
Amanda is obviously doing very nicely too, with her sprawling L.A. mansion, although it must only have one bedroom - how else do you account for Ethan sleeping on the sofa rather than in a guest room when he is banished from the bedroom by his enraged other half? Graham is so unfathomably perfect - good looking, charming, sensitive, in touch with his emotions, available - that it's laughable. A case of wish fulfilment on the writer-director's part.
The script is sprinkled with some smart, acerbic one-liners, like when Graham declares, 'Long distance relationships can work, you know?' and Amanda responds, 'Really? I can't make one work when I live in the same house as someone.'
Amanda's storyline begins badly - the character comes across as whiny and irritating - but improves considerably, dominating the second half of the film. Diaz generates a pleasing screen chemistry with Law, the latter adopting an array of adoring and flirtatious stares for the camera; so much so, women at our screening were ovulating at his every appearance.
In contrast, Iris's journey of self-discovery, which bears an uncanny similarity to Bridget Jones's Diary - insecure media heroine prone to bouts of self-pity and tears, caddish love interest who breaks her heart - becomes less interesting as the film progresses.
The romance with Ethan develops too late in the film to be satisfying, ensuring narrative symmetry with Amanda and Graham's relationship and setting up a saccharine, festive finale that will leave audiences feeling either warm and fuzzy, or slightly nauseous